来世的

According to the cultural information it contains, through analyzing figurines of musicians.dancers and acrobats, the paper argues that in one hand they mirror the tomb owners lives before their deaths and the social lives, in another hand they embody their ideals of lives of other world, and reflect the peoples funeral concepts.

就其所包涵的文化信息，本文着重对乐舞百戏俑进行了分析，指出其一方面是对墓主人身前生活的再现以及对当时社会生活的反映，另一方面也集中体现了墓主人对于"来世生活"的设想和寄托，折射和反映出当时人们的丧葬思想。

Because of the guilt and sin innate in human nature, most Christian thinkers judged that it was impossible for a human to attain moral perfection before death even with the aid of divine grace.1 Thus, the Christian philosopher Immanuel Kant (1724–1804) argued that since we cannot achieve perfection or sinlessness in this life, we must postulate an afterlife in which infinite progress toward it will be possible.2 Christian theologians dealt with this problem by emphasizing that the response to Christ's call to be perfect is a surrender of the heart and will in the obedience of faith.

由于人性中内在的罪，大多数基督教思想家断定，即使有神的恩典的帮助，人也不可能在生前达到道德上的完善。因而，基督教哲学家伊曼努尔·康德（1724–1804）主张，由于我们不能在此世达到完善或无罪，我们必须假定一个来世，以使向善的无限进步得以可能。基督教神学家对这个问题的处理则是强调，对耶稣的达于完善的召唤的回应是将人的心和意志沉浸于信仰。

Let the sycophant or the buffoon, the satirist or the good companion, consider with himself, when his body shall be laid in the grave, and his soul pass into another state of existence, how much it will rebound to his praise to have it said of him, that no man in England ate better, that he had an admirable talent at turning his friends into ridicule, that nobody outdid him at an ill-natured jest, or that he never went to bed before he had dispatched his third bottle.

简而言之，该想想我们的所作所为在今生是否是一种荣耀，在来世是否是一种优势。让那些阿谀奉承者、混混小丑们、讽刺专家和酒肉之交们都好好地反思一下：当他的躯体躺进坟墓时，当他的灵魂飘进另一世界时，他以前的所为只会让别人提起他时说：全英格兰没人比他更贪吃、没人比他更会挖苦人、没人比他更会开恶毒的玩笑、没人像他那样每天晚上开完三个酒瓶后才上床。

He is then led to the scales of balance by Anubis ,the jackal-headed god of mummification and the afterlife.

他被导引亡灵之神阿努比斯——木乃尹化的来世、有着豺狗一样头颅的的神明，引导至一个有刻度的天平面前。

In a contrast of scale, our demonstration garden for the 1986 San Francisco Garden Show expresses the death of the farm and the hereafter by creating a surreal gesture to infinity, much like a Giorgio Chirico or Salvador Dali painting.

另外一个尺度小得多的作品，1986年旧金山花园博览会的参展作品，我们以一个无极的超写实架势表现农庄的死亡及其来世，非常像奇里珂或达利的画作。

I'm strongly against the death penalty — it's an eye for an eye.

我不赞成死刑——这是以牙还牙的报复行为。

And to get you the support you need, we're enlisting all elements of our national power: our diplomacy and development, our economic might and our moral suasion, so that you and the rest of our military do not bear the burden of our security alone.

并给你们所须的支援，我们正徵召国家所有各种的力量：我们的外交及发展，我们的经济力量与道德劝说，所以你们与其他军人不须要孤独地负起国家安全的责任。